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The guestbooks of Friedrich Vordemberge-Gildewart and his wife identify the "network within which the young artist moved and would continue to move throughout his life: Theo van Doesburg, Herwarth Walden, Kurt Schwitters, K©Þthe Steinitz ... All in all, five guestbooks ... the first, which encompasses the years in Hanover from 1925 to 1929, followed by the second covering their stations in Hanover, Berlin and Amsterdam from 1929 to 1951, two other spanning the years in Amsterdam and Ulm from 1951 to 1955 and in Ulm from 1955 to 1961, and the final book containing only a few entries ... [and] ends in 1962, the year of Vordemberge-Gildewart's death." Vordemberge-Gildewart's wife, Ilse Leda, was of Jewish descent. In 1936, after the Nazi government forced her to close her Berlin dance school, she founded the Erste J©ơdische Tanzgruppe (First Jewish Dance Ensemble) under the auspices of the J©ơdischer Kulturbund. A flyer for the Tanzgruppe is reproduced on page 85. At the end of 1938 she became the secretary for the J©ơdischer Fl©ơchtlingskomitee in Amsterdam; in 1941 she lost her German citizenship. For further biographical details see page 173.
Monografie en oeuvrecatalogus van de Duitse kunstenaar (1899-1962), lid van o.a. de Stijl.
The name De Stijl, title of a magazine founded in the Netherlands in 1917, is now used to identify the abstract art and functional architecture of its major contributors: Mondrian, Van Doesburg, Van der Leck, Oud, Wils and Rietveld. De Stijl achieved international acclaim by the end of the 1920s and its paintings, buildings and furniture made fundamental contributions to the modern movement. This book is the first to emphasize the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. It examines how the debates concerning abstraction in painting and spatiality in architecture were intimately connected to contemporary developments in the fields of urban planning, advertising, interior design and exhibition design. The book describes the interaction between the world of mass culture and the fine arts.
Originally published: London: Laurence King Pub., 2006.
The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.
This book provides the first chronological account of the political history of the Ulm School of Design, considered to be the most influential educational institution in the world for contemporary design.
This book represents the first study dedicated to Twentieth Century German Art, the 1938 London exhibition that was the largest international response to the cultural policies of National Socialist Germany and the infamous Munich exhibition Degenerate Art. Provenance research into the catalogued exhibits has enabled a full reconstruction of the show for the first time: its contents and form, its contributors and their motivations, and its impact both in Britain and internationally. Presenting the research via six case-study exhibits, the book sheds new light on the exhibition and reveals it as one of the largest émigré projects of the period, which drew contributions from scores of German émigré collectors, dealers, art critics, and from the ‘degenerate’ artists themselves. The book explores the show’s potency as an anti-Nazi statement, which prompted a direct reaction from Hitler himself.
Published to accompany an exhibition held at Annely Juda Fine Art, London July 2-September 19, 1998.
Presenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Latin America. Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America. Drawing on research conducted by Getty and international partners, the essays in this volume address a variety of topics, including the general history, emergence, and reception of Concrete art; processes and color; scientific analysis of works; illustrated chronologies of the paint industry in Brazil and Argentina; and Concrete design on paper. An innovative technical study of the Concrete art movement in Latin America, this volume will be indispensable to scholars, practitioners, and students of Latin American art.